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Home , Black Sun Press, Harry Crosby, Pearl Primus

s The World’s Most Famous Shipwrecked Shadows of the Sun: Harry and Soul: The Robert and ’s 2 Miriam Lovett Robinson Crusoe Collection 5-6 by Amy Hildreth by David Faulds

Emory Yearbooks Join the Digital Revolution Portrait and Text: by Kate Donovan Jarvis African American Artists of , 7–8 3-4 Music and the Written Word by Kelly Erby and Randall K. Burkett Other Voices: A Smorgasbord of Memory 9 by Gary S. Hauk

e nt Cont 10 Calendar of Exhibits and Events

letter from the director

Those of us who work in Emory’s libraries regularly seek ways in which the collections and work of the libraries connect to the libraries’ strategic goals and to the overall strategic plan of the University, which is titled “Where Courageous Inquiry Leads.” The stories in this issue of MARBL illustrate how our Towinter subscribe, contact: collections relate to the University’s strategic theme of cre- Christeene Fraser ating community and engaging society. Manuscript, Archives, & Rare Book Library David Faulds writes about our Robinson Crusoe collection and the ways in which this Robert W. Woodruff Library, Emory University early example of realistic fiction has engaged society for nearly three centuries. Kelly Atlanta, Georgia 30322 Erby and Randall Burkett describe photographs, books, letters, manuscripts, and post- [email protected] ers that come together to paint vivid portraits of an interconnected community of African For more information, go to marbl.library.emory.edu. American artists. Amy Hildreth tells us about Black Sun Press, which was in business for only about a quarter of a century, yet created a renowned community of authors, book hours artists, and readers. Kate Donovan Jarvis leads us to consider the communities of stu- Spring semester: dents who produced Emory’s yearbooks and the University community documented in Monday–Saturday: 9:00 am–5:30 pm For exceptions, check them. Gary S. Hauk introduces a new book about Emory that tells stories of an academic marbl.library.emory.edu/visit-marbl community engaged in a journey of courageous inquiry. As I serve Emory as interim director of MARBL, I invite you to be part of MARBL’s credits community, which is built around our rich collections, creative and courageous inquiry Editor: Holly Crenshaw into them, and thought-provoking public engagement derived from them. We want you Art Director: Stanis Kodman to stay connected to MARBL in all the ways that work for you. Please read this magazine Photography: Emory Photo/Video Scans: MARBL and share it with a friend. Come to MARBL or visit its website to plan your research. Join us for the many exhibits and public programs drawn from our collections. Be our friend Front cover: on Facebook. Follow us on Twitter. Browse historic Emory photographs on Flickr. Emory An embossed example of the Crosby crest. is about exploring where courageous inquiry leads, and MARBL hopes to be about where Back cover: ’s signature with the Crosby crest and bookplate. your own intellectual and cultural inquiry will lead.

Virginia J. H. Cain Interim Director The World’s Most Famous Shipwrecked Soul

The Robert and Miriam Lovett Robinson Crusoe Collection

The Lovett collection includes rare first edi- tions of all three works. The nature of the story and its intrinsic Daniel Defoe’s celebrated novel, Robinson Crusoe, simplicity has lent itself to adaptations and abridgement for is one of the few works of fiction whose popular- children since shortly after it was first published. Among the ity has lasted not just decades but centuries. MARBL many children’s editions in the Lovett collection are two unique is fortunate to own one of the largest collections of Robinson copies from the eighteenth century. One—printed around 1780 Crusoe in the world—more than 800 titles whose cataloging in Nottingham, England—is only twenty-four pages long. The recently was completed. Known as the Robert and Miriam Lovett other—printed around 1770 in Newcastle, England—features Robinson Crusoe Collection, it was given to Emory in 2008 by illustrations by acclaimed English illustrator Thomas Bewick. Bob Lovett, a retired English professor at Wake Forest University Illustration has been an important feature of Robinson and author of Robinson Crusoe: A Bibliographical Checklist of Crusoe since its first edition. Most editions have had illustra- English-Language Editions (1719–1979), the standard bibliogra- tions of some sort, whether simplistic for children or more phy of the work. sophisticated for adults. Noted illustrators of Robinson Crusoe Lovett, a 1969 graduate of Emory University’s Laney include the aforementioned Bewick in the eighteenth century, Graduate School, has long family connections to Emory. His George Cruikshank and J. J. Grandville in the nineteenth cen- great-grandfather was Charles Howard Candler, son of Coca- tury, and Andrew Wyeth in the twentieth century. The collec- Cola founder Asa Candler, whose remarkable book collection tion even includes wholly illustrated comic book editions of became one of the foundation collections of MARBL. The Lovett the story. name is also represented in MARBL through an endowed fund the story of Robinson Crusoe is well known around the named in honor of Robert’s mother, Ruth Candler Lovett. The world, and the Lovett collection contains translations into more fund is used to purchase nineteenth-century English literature than twenty languages. There are eighteenth-century transla- for MARBL’s collections. tions into French and Portuguese and twentieth-century transla- Lovett spent much of his career acquiring rare and unique tions into languages as diverse as Thai, Ukrainian, and Navajo. copies of the famed literary work, whose main character The collection spans the period from when books were hand- famously spends twenty-seven years on an island. At first made and bound in leather through the development of mass- glance, it may seem odd to have a collection of 800 copies produced books and includes everything from mass-produced of the same book, but the publishing history of Robinson paperbacks, pop-up books, and fine press books to a miniature Crusoe is fascinating. It first appeared in 1719 as The Life and edition only 25 mm. high. Strange Surprizing Adventures of Robinson Crusoe, of York, Lovett described Robinson Crusoe as a work that is so rich, it Mariner and was followed by two sequels, the lesser-known has inspired plays, operas, a children’s book, and even served The Farther Adventures of Robinson Crusoe in 1719 and the as a moralistic mantra for nineteenth-century empire builders. obscure Serious Reflections during the Life and Surprising This extraordinary collection will be used not just by English lit- Adventures of Robinson Crusoe in 1720. Through the years, erature students, but by students of history, the history of the works published as Robinson Crusoe often have included at book, and art history as well. least portions of the first sequel and, occasionally, the second. by David Faulds, Rare Book Librarian

MARBL spring 2011 page 2 Portrait and Text African American Artists of Dance, Music and the Written Word

Kelly Erby, Visiting Lecturer, Department of History, Georgia State University and Randall K. Burkett, Curator of African American Collections, Emory University

January 17–June 30, 2011

The gift of a small collection of photographs by for Baker’s twelve adopted children. Compelling origi- provides MARBL another opportunity nal artworks that were later produced as posters and used for to showcase the breadth and depth of its holdings related to fund-raising complement the correspondence. African Americans in the arts. Baker also surfaces in other MARBL collections, including A new MARBL exhibition, “Portrait and Text: African the Bricktop papers. Bricktop (Ada Smith) had preceded Baker American Artists of Dance, Music and the Written Word,” is as an American singer who found popularity in France and on display January 17–June 30, 2011. It is co-curated by Kelly helped Baker—just as she had helped the young poet Langston Erby, a recent Emory PhD who is currently a visiting lecturer Hughes—establish herself in . While Emory’s collections at Georgia State University, and Randall K. Burkett, curator of hold a number of exotic photographs of the young Baker, this African American Collections. exhibition highlights a beautifully illustrated children’s book the exhibition pairs beautiful portraits taken by Van she wrote in 1957, La Tribu Arc-en-Ceil (The Rainbow Group). Vechten, a Harlem arts patron and photographer, with original This book, which was written to raise funds in support of Les documents from a wide range of MARBL collections. The docu- Milandes, is held by only eight libraries in the United States. ments include books, theater programs, lobby cards for films, Another important collecting focus comes at the intersec- personal letters, and posters—all of which help to reveal the tion of literature and the arts, as embodied in the stunning artists’ lives and work and to demonstrate the social, politi- Billops-Hatch Archives at Emory. The co-founder of that col- cal, and professional networks that existed among these cre- lection, James V. Hatch, is the principal biographer of the late ative individuals. Featured artists include , playwright, poet, and theater director Owen Dodson. Emory’s Zora Neale Hurston, , Richard Wright, Marian holdings of Dodson material include an extensive collection Anderson, Carmen de Lavallade, Pearl Primus, Countee of interviews; an important set of correspondence between Cullen, Josephine Baker, and Paul Robeson. Dodson and his friends W. H. Auden, James Baldwin, and oth- Van Vechten (1880–1964) was a novelist, literary savant, ers; as well as numerous books owned by Dodson. Postcards patron of the arts, and principal supporter of African American from Dodson to the artist Benny Andrews, whose papers Emory literati. He also became a superb photographic portraitist, and also holds, demonstrate the breadth of contact and interest his photos enable us to foreground a number of interrelated col- among African American visual artists and writers, while the lections that have come to Emory during the past dozen years. typescript of Dodson’s remarks in tribute to his late friend one of Emory’s principal collecting interests is expatriate Harold Jackman points to still other intersections and to abid- African Americans. Our Josephine Baker collection, for exam- ing friendships. ple, includes more than 1,000 letters to and from Josephine the papers of novelist John Oliver Killens document the and her husband Jo Bouillon. Much of that correspondence political activism of African American artists and writers. Killens, relates to Les Milandes, the international home in the south of who worked closely with Harry Belafonte on several projects,

Inscription [above] found in Richard Wright’s 12 Million Black Voices; this copy also contains Dodson’s bookplate [immediate left]. Telegram [above, center] from W. H. Auden to his friend Owen Dodson, May 18, 1939, in the Billops- Hatch Archives. Book [top right] La Tribu Arc-en-Ceil, a children’s work by Josephine Baker. Poster [far right] created in 1958 to help secure funding for Josephine Baker’s home for her adopted children, Les Millandes. This is one of several posters in the Josephine Baker papers. page 3 spring 2011 MARBL described Belafonte’s work as “an affirmation of the universal axiom that in all men the most impelling force is human dig- nity.” Killens took the lead in organizing “Artists for Freedom,” a group that included James Baldwin, , , William Warfield, and many others who were shocked and out- raged by the Birmingham church bombing in 1963. Before these Van Vechten photographs arrived at Emory, they were exhibited in Paris during a 1992 conference that focused on African Americans and Europe. Curated by University Professor Deborah Willis, that Paris exhibi- tion drew, in turn, from a collection of Van Vechten’s photos that previously had been produced in a limited edition for the Eakins Press Foundation. In his important essay on Carl Van Vechten’s photographs, Emory faculty member Rudolph P. Byrd observed, “[I]t is a pleasure to join a face with language, to join an image with a reputation; in fine, it is a pleasure to ponder what some would term a different text.” Byrd, a student of African American let- ters, came to the photographs having been immersed in the literature. This exhibition moves in the opposite direction— that is, from photograph to text. The focus is on intersections: of subjects portrayed and the cultural works they produced— and of the subjects themselves, one to another.

MARBL spring 2011 page 4 Shadows of the Sun Harry and Caresse Crosby’s Black Sun Press Amy Hildreth, Emory University doctoral candidate in English

Harry Crosby, a descendant of and William Floyd, a signer of the Declaration of Independence, was born on June 4, 1898. According to his biographer Geoffrey Wolff—who wrote Black Sun: The Brief Transit and Violent Eclipse of Harry Crosby in 1976—Crosby met Mary “Polly” Peabody, his future wife, following service in and graduation from Harvard with a “War Degree.” Polly Peabody, however, was already married and the mother of two young children. Undeterred, Crosby pursued Polly until she attained The Black Sun Press, which published from 1924 a divorce. The couple married in on September 9, through 1950, is an influential example of fine-art 1922, and moved to Paris, where they hosted decadent parties printing from the modernist era. When a collection of attended by the likes of Salvador Dali and engaged in an open Black Sun Press publications arrived at Emory as part of the relationship that scandalized their families and former friends. Raymond Danowski Poetry Library in 2004, curators immedi- In 1924, the Crosbys began Éditions Narcisse. After estab- ately recognized the works as an intimate reflection of their lishing the press, Harry insisted that Polly formally change creators’ lives. her name in order to fit her artistic persona. Harry decided on In May 2011, the Schatten Gallery will exhibit MARBL’s Black “Caresse,” a name that could form an acrostic with his. The cou- Sun Press books for the first time under the title “Shadows of the ple created “the Crosby cross” by joining their names together, Sun.” The exhibit also will explore Harry and Caresse Crosby’s emblazoning this figure on the backs of their editions. Their first milieu during their time in France, including the sounds and books included Caresse’s Crosses of Gold (1925) and Harry’s sights of the Roaring Twenties. Sonnets for Caresse (1926). The press’s printer, Roger Lescaret, Established in France and maintained by the Crosbys first as previously published only ephemera, but the five books created a vanity publication called Éditions Narcisse, the press changed under this imprint succeeded commercially due to their crafts- its name and grew to include the artistic and literary contribu- manship. Marbleized endpapers, vellum or leather covers, and tions of the couple’s social circle. These expatriate Americans, gold embossing were a few of the techniques used to help the often called the Lost Generation, were the foundational figures editions stand apart. of twentieth-century literature. The Crosbys published them in In 1928, Éditions Narcisse increased its production and editions of unparalleled quality. changed its name to Black Sun Press to reflect Harry’s worship

[left to right] Chariot of the Sun (1928) engraving by A. E. Marty; Crosses of Gold (1925) poem and watercolor by Caresse Crosby; Crosses of Gold (1925) acrostic by Caresse Crosby; photograph of Harry Crosby; Tales Told of Shem and Shaun (1929) by ; The Passionate Years (1955). page 5 spring 2011 MARBL of the sun. Crosby’s devotion to the sun was deeply rooted: he appear for tea with Caresse, his mother, and his close friend had a large sun ceremonially tattooed on his back in January . of that year during a cruise in Egypt and wore a sun-embossed Caresse Crosby wrote in her introduction to Poems for Harry wedding ring. As early as 1922, Harry connected the sun to Crosby, published in 1931, “In any age Crosby would have been Caresse and used the sun to justify his fatalistic approach to a striking figure. . . . I have written elsewhere of the strange effect life. In a diary entry dated January 28 and later published under of remoteness, almost other-worldliness, which Harry Crosby the title Shadows of the Sun (1928), he wrote, “Tossed my sun- produced on me, and indeed all his friends, and of the loss to cross into the air to see whether to fight on or surrender. Fight modern life and letters involved by the tragedy of his eclipse.” on as it falls upon the floor sun upwards.” After Harry’s death, Caresse continued Black Sun Press, the press benefited from the Crosbys’ collaboration with although she also ran a second imprint called Crosby many notable writers and artists. Drawings by Alastair, also Continental Editions in the early 1930s. Continental published known as Baron Hans Henning von Voight, illuminated many “World-Wide Masterpieces in English” in paperback—a rare, editions, most notably Red Skeletons (1927). James Joyce, affordable choice at the time. Although the imprint failed, introduced to the couple through , the proprietor Caresse’s venture published notable writers such as William of the pioneering English-language bookstore Shakespeare Faulkner and and was an attempt to get and Company, contributed Tales Told of Shem and Shaun great literature into the hands of everyday readers. Caresse (1929), which later became part of Finnegan’s Wake. When would go on to close Black Sun Press in 1950 after the publica- Joyce asked how many pages Caresse wanted, she responded, tion of Charles Olsen’s Y & X. “It’s the meat not the water that makes the broth.” Joyce was the Crosby legacy is a familiar Gatsby saga of Jazz-age so pleased that he allotted the printers two short fragments. decadence. Poet e.e. cummings memorialized Harry Crosby’s In return, the Crosbys retained Constantin Brancusi to illus- suicide in his 1931 collection ViVa with the poem “Y is a WELL trate the edition. Other notable publications include versions KNOWN ATHLETE’S BRIDE.” In it, cummings wrote “2 / of Oscar Wilde’s The Birthday of the Infanta (1928) and Lewis Dolls; found/ With/ Holes in each other/’s lullaby.” T. S. Eliot— Carroll’s Alice in Wonderland (1930), as well as ’s who wrote an introduction to Transit of Venus (1928), a volume Short Stories (1929), D. H. Lawrence’s The Escaped Cock (1929), inspired by Josephine Bigelow, and whose poem “Gerontion” and the first appearance of Hart Crane’s modernist classic The Harry enthusiastically scored—perhaps said it best: “Thou has Bridge: A Poem (1930). neither youth nor age/ But as it were an after-dinner sleep/ the sun-cross finally fell downward in the afternoon Dreaming of both.” of December 10, 1929. Harry stunned Boston society with Black Sun Press, by combining the art of the age with his death as part of a suicide pact. He shot his lover, the the literature of the time, generated an exceptional fusion: recently married Josephine Bigelow, several hours prior to a fine-art press whose legacy in modernism is just begin- killing himself. His death was discovered after he failed to ning to be explored.

by Amy Hildreth, Emory University doctoral candidate in English

MARBL spring 2011 page 6 [background] “The Emory College March,” dedicated to Warren A. Candler, Emory College president (1888–1898) and chancellor (1914–1920), and composed by Charles Astin, who also wrote a march for Georgia Tech. It appeared in the 1897 Zodiac. [left, top] This photograph of the Ugly Men’s League appeared in the inaugural edition of the Zodiac. Pictured [from left] are C. R. Jenkins, H. W. Munroe, H. F. Harris, J. H. Bond, and T. M. Meriwether. [left, bottom] Affirmation Vietnam, an Emory student group that supported the war. This photo of a rally at Atlanta-Fulton County Stadium appeared in the 1966 Campus. [right, top] Introductory page for the “Southern Beauties” section of the 1925 Campus. [right, bottom] The 1938 Campus, showing a cross-section of student life, including pushball. [far right] The 1959 yearbook included photos of semifinalists in the “Miss Emory University” contest. Emory Yearbooks Join the Digital Revolution Kate Donovan Jarvis, University Archivist

In 1893, students at Emory College founded the A popular yearbook feature begun in the mid-1920s was a school’s first yearbook, the Zodiac. Later known section devoted to “Southern Beauties,” which highlighted as Campus, the yearbook provided a chronicle of student some of the students’ favorite female companions and fellow academic and social life on the Emory campus from the late students. In the 1950s, this section was devoted to the Emory nineteenth to the turn of the twenty-first century. For more University “Queen” and her “Court,” but still included stylized than 100 years, the Emory yearbook captured on paper the portraits of female students. By the 1970s, however, the tradi- spirit, scholarship, and fellowship of the Emory campus. tion of including the “Queen” or “Miss Emory” in the pages Already a heavily used resource in the Manuscript, Archives, of Campus had ceased and the 1972 winner, male student Ira and Rare Book Library, these volumes will now be acces- Luft, was not included in that year’s annual. Other common sible beyond the grounds of the Emory campus. As part of elements found in all the yearbooks were whimsical illus- the Woodruff Library’s commitment to digital initiatives and trations and photographs of special events and occasions, the University’s celebration of its 175th anniversary, MARBL classes, fraternities (and later sororities), sports, and mem- is digitizing the entire run of the Emory yearbook, creating bers of the faculty and administration. a vibrant and full-text searchable archive of the University’s the cultural and political issues of the day also appeared beloved student publication. in the pages of the Zodiac and Campus. Yearbooks from the While not the first major student publication on campus 1940s feature students mobilizing for World War II, while (that honor belongs to the Emory Mirror), the Zodiac neverthe- those from the 1960s reflect the decade’s radicalism and less represents a significant moment in the history of student concerns about the war in Vietnam. Robert W. Woodruff’s publications at Emory. The introduction to the first edition of the generous 1979 gift of $105 million from the Emily and Ernest Zodiac notes that while students long had wanted an annual, Woodruff Foundation to the University was featured in the not until 1893 had their “means jumped with [their] desires” pages of Campus, along with the lyrics to a song proclaiming and enabled them to afford such a publication. The date of Emory as the Coca-Cola school. The Campus editions from the first Emory annual coincides with a period in which print- the 1980s and 1990s highlight an increasingly diverse Emory ing technology in the United States was increasingly affordable University student body and community engaged in transfor- and print advertising was on the rise, thus enabling a variety of mative research, scholarship, and social action. new publications, including college and university yearbooks. throughout their history, the Zodiac and Campus pro- Indeed, like its future counterparts, the first Emory yearbook vided valuable glimpses into student life at Emory. In 1945, was funded in part through advertisements by local busi- however, when a large part of Emory’s male student body nesses, such as The Coca-Cola Company. was engaged in military service, the yearbook ceased publi- From their inception, Emory yearbooks highlighted student cation. There is also a gap in the series in 1979 when Emory social clubs and societies by publishing membership rosters, students failed to produce an annual. Whereas the publica- photographs, organizational histories, songs, cheers, and tion of the first Emory yearbook in 1893 heralded a new era chants. The first edition of the Zodiac featured the school’s fra- of print technology, the final edition of Campus published ternities, as well as the Ugly Men’s League, Emory Glee Club, in 1999 in many ways signaled the end of the dominance of Phi Gamma Literary Society, Few Society, Emory Phoenix, Sub- print and the rise of digital media. Fresh Orchestra, and athletics teams along with information on today’s Emory students still celebrate the University and its the different classes and Emory students. Each class included unique student culture, of course, but documentation of these its own “history” and class chant or song, along with a listing of events and milestones now is more often recorded on the pages students’ names and hometowns. One notable addition in the of Facebook, in YouTube videos, and through Twitter feeds. By first yearbook is the inclusion of two Asian students; one was digitizing the Emory yearbooks and making them available sophomore K. T. Tsoong from Shanghai, China, and the other online, MARBL is providing access to these delightful volumes graduating senior Yun Ch’i-Ho from “Corea,” whose personal beyond the campus grounds, while helping to ensure that the papers are part of MARBL’s collections. spirit of Emory lives on in the digital age.

MARBL spring 2011 page 8 other voices by Gary S. Hauk, Vice President and Deputy to the President a smorgasbord of memory

Begin with sixty-some cooks and four or five years of baking, basting, boiling, bubbling, browning, braising, and brewing. Throw in basketsful of ingredients from MARBL’s garden of archival delights. Season richly with memory, wit, knowledge, and wisdom. In the end, what you have is a table laden with forty-four distinct and savory dishes and—the maitre d’ hopes—a feast worthy of Emory. Or at least the first course in a yearlong feast of history and celebration.

This course is served up in the new book Where Courageous We hear of the struggles to build departments in African Inquiry Leads: The Emerging Life of Emory University, edited by American studies, film, theater, women’s studies, and the your humble author and my colleague Sally Wolff King. Emory Center for Women. We learn of the ways Emory alumni As Emory University marks its 175th anniversary in 2011, have shaped the world beyond Emory—in history, law, classical the observance of Emory’s march to maturity seemed to beg studies, literature, and medicine. Perhaps best of all, we read for a suitable narrative—one that would measure the spirit of the impact of some of Emory’s greats—professors such as of courageous inquiry without neglecting times when cour- George Cuttino and Lore Metzger, Floyd Watkins and Elizabeth age failed, and would salute wisdom while acknowledging Stevenson, Hal Berman and Tom McDonough—as told by occasional folly. friends and former colleagues who superbly capture the spirits the concept for the book took shape five years ago, as of these people and the spirit of the place they helped make. the University began to chart its future by developing a stra- All the men and women recalled in the book followed “cou- tegic plan. The title of the plan, rageous inquiry” down paths that tested their mettle. Not all of “Where Courageous Inquiry them passed the test. Most did. Sometimes risking social dis- Leads,” seemed too good not favor or at odds with academic convention, occasionally doing to use more than once. The nothing more than inhabiting the scholar’s lonely solitude, double meaning is appeal- most of the characters who fill these pages also filled their lives ing and suggestive, implying and those of their friends and colleagues with a quiet courage not only that Emory is a place that changed their world for the better. to which courageous inquiry their courage also made Emory better. Institutions, like leads when men and women individuals, do not always manifest the virtues of courage, boldly follow their curiosity, moderation, justice, and wisdom—as we know from the daily but also that Emory is a place news. Institutions draft charters, credos, mission statements, of leadership whenever it lives and mottos, just as individuals adopt philosophies and creeds. out its own courageous inquiry. Then, since institutions are human, the possibility of an institu- With this notion in mind, and with an acute awareness of tion’s falling short is multiplied by the number of flawed indi- certain lacunae in published histories of Emory, the editors viduals who make up its parts. set about inviting answers to fill the holes. Knowing that the now nearly 175 years old, Emory has sought, like most uni- keepers of the Emory story are many, and that each story- versities, to live up to high standards expressed in elevated keeper witnesses different scenes and acts of the whole language. Sometimes its actions have been hard to square drama, we invited many narrators to tell their tales, and we with its rhetoric. Most often it has taken the virtue and stamina were delighted by the response. of Emory men and women to show where courageous inquiry Psychology professor Marshall Duke writes about “Emory should lead. as place and story,” sharing memorable tales and profound the forty-four chapters in the book tell reflection from his four decades at Emory—including the story story after story of an academic commu- of “The Great Library Book Turnaround.” Nancy Seideman, long- nity striving to exercise the courage of time Emory communications executive and Friend of the Emory its questions. As the book’s editors—the Forest, tells for the first time the complex story of how Lullwater maitre d’s, as it were, who laid out the became the catalyst for Emory’s turning “green.” Historian table full of dishes—Sally and I believe Melissa Kean unfolds the long and nuanced history of Emory’s that you won’t be able to taste just one. desegregation as it never has been told before.

page 9 spring 2011 MARBL

EXHIBITS

Schatten Gallery, Level 3, Woodruff Library Through March 25 “The Future Belongs to the Discontented: The Life and Legacy of Robert W. Woodruff” Presented by The Coca-Cola Company An exhibition chronicling Woodruff’s life, from his childhood through his leadership of The Coca-Cola Company and his role in shaping Atlanta and Emory through his philanthropy. Includes correspondence, photographs, business records, and other materials. Curated by Randy Gue.

Also: “On Assignment: Photographs of Robert W. Woodruff,” featuring work by Jay B. Leviton. Corridor Gallery.

Manuscript, Archives, and Rare Book Library, Level 10, Woodruff Library January 17–June 30 “Portrait and Text: African American Artists of Dance, Music and the Written Word” Featuring portraits by Harlem arts patron and photographer Carl Van Vechten and MARBL’s exceptional collection of African American primary sources, this exhibition offers a unique perspective on many renowned African American writers, actors, singers, and dancers. Paired with Van Vechten’s portraits are original documents from MARBL’s collections that reveal the artists’ work or life and demonstrate the social, political, and professional networks that existed among these creative individuals. Included are Langston Hughes, Zora Neale Hurston, Harry Belafonte, Richard Wright, Marian Anderson, Carmen de Lavallade, Pearl Primus, Countee Cullen, Josephine Baker, Paul Robeson, and many others. Co-curated by calendar of events of calendar Kelly Erby and Randall K. Burkett.

EVENTS

January 30 RAYMOND DANOWSKi POETRY LIBRARY READING SERIES Mary Oliver, one of the country’s most beloved poets and winner of the Pulitzer Prize and the National Book Award. 4:00 p.m., Glenn Memorial Auditorium. Free tickets (limit four per person) are available through Emory Libraries ([email protected]).

March 2 RAYMOND DANOWSKi POETRY LIBRARY READING SERIES Michael and Matthew Dickman, poets and twin brothers. 6:00 p.m., Jones Room, Woodruff Library. Free and open to the public.

March 29 RAYMOND DANOWSKi POETRY LIBRARY READING SERIES Cornelius Eady and Toi Derricotte, poets and founders of Cave Canem. 6:00 p.m., Jones Room, Woodruff Library. Free and open to the public.

For more information: web.library.emory.edu/news-events

Annual gifts enable the Emory Libraries to serve a vital role in the academic and cultural life of the campus. They help build unique special collections and allow the Manuscript, Archives, and Rare Book Library to acquire exciting new materials. They fund digital innovations that lead to groundbreaking scholarship. And they support an engaging array of public programs and exhibitions that enliven the community. Make a gift today and join the community of annual donors who are making a difference at Emory Libraries. For more information on giving, contact Brock Matthews, Director of Development and Alumni Relations for Emory Libraries, at 404.727.5386 or [email protected].

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Manuscript, Archives, & Rare Book Library Emory University, Robert W. Woodruff Library Atlanta, Georgia 30322-2870

[email protected] t 404.727.6887 F 404.727.0360 Manuscript, Archives, & Rare Book Library Robert W. Woodruff Library, Emory University 540 Asbury Circle Atlanta, Georgia 30322